This work's orchestral introduction can be preceded by the question "Where is the stage," part of the text drawn from "The Prologue of the Bard." A 1963 film adaptation starred Ana Satre and Norman Foster and was directed by Michael Powell. The libretto is primarily in trochaic tetrameter, and one character in this work perceives "weeping walls." A minor second motif marks visions of blood, while darkness accompanies the lake of (*) tears, in contrast to the bluish-green and white streams of light that had accompanied the garden and the treasury. The title character repeatedly implores that he be loved and no question
This work's orchestral introduction can be preceded by the question "Where is the stage," part of the text drawn from "The Prologue of the Bard." A 1963 film adaptation starred Ana Satre and Norman Foster and was directed by Michael Powell. The libretto is primarily in trochaic tetrameter, and one character in this work perceives "weeping walls." A minor second motif marks visions of blood, while darkness accompanies the lake of (*) tears, in contrast to the bluish-green and white streams of light that had accompanied the garden and the treasury. The title character repeatedly implores that he be loved and no questions be asked, but he gives up key after key, eventually showing his ex-wives to Judith. For 10 points, name this Hungarian opera by Bela Bartok.
This work's orchestral introduction can be preceded by the question "Where is the stage," part of the text drawn from "The Prologue of the Bard."
Duke {Bluebeard's Castle} or A {kékszakállú herceg vára} [accept any {translations} like The {Castle} of the {Blue}-{Bearded Prince} so long as there's a {castle} and a potentate with a {blue beard} involved]